Reverse Portrait Compositing and Retouching

Reverse Portrait Compositing and Retouching

Reverse portrait compositing introduces the concept of building and propping your entire environment, lighting, and story in CGI around the subject or person. With this workflow for Cinema 4D & Adobe Photoshop, you will learn the exact pipeline and workflow to begin to offer this service to your clients.

Reverse Portrait Compositing and Retouching
  • What Is Happiness? Photographer Biopic of Jonny Edward

    Jonny breaks down his authentic self and shares some emotional thoughts on how he lives his best, and most authentic life.

  • A Convoluted Path To Where I Am Today | Jonny Edward

    A camera is a magical thing that allows you to engage with the world and the people around you, and Jonny breaks down his mindset and how he uses photography to convey his art.

  • Welcome To Reverse Compositing

    Jonny Edward, a fashion and portrait photographer based in Denver, Colorado. Jonny is a visual storyteller who has concentrated his work on simplicity in sets, so entering into the realm of CGI seems really daunting to him. Jonny shares his concerns and lead CGI artist, Dustin Valkema answers his...

  • 01-02 Intro To Reverse Compositing

    Jonny sits down with the PRO EDU CGI team to talk through the development process of conducting a shoot for a CGI environment. The team discusses what is possible in CGI, how it changes a Photoshops movement and flow, and what should photographers know about working in CGI.

  • 01-03 The Planning Of The Shoot

    Jonny and Dustin discuss the tools they will use when conducting the photoshoot. How they will go about executing the shoot and some considerations when shooting for CGI.

    Exact measurements are taken during shooting to include distance to model, height of camera, the angle of the lens. All thi...

  • 01-04 The Rough Model Build

    PRO EDU’s 3D modeler Geoff DeVries explores the process of modeling 3D objects in CGI. The section allows the viewer to explore what goes into the development of 3D models so photographers wanting to bring more CGI elements to their composite work know some of the language and building blocks of ...

  • 02-05 Reverse Composite Shoot | Look 1

    Photographer Jonny Edward and CGI Master Trainer Dustin Valkemabegin the photoshoot. Unlike a standard photoshoot, the two will spend a significant amount of time imagining the scene they plan to build. The pair discusses challenges in lighting, changing out set pieces and making adjustments that...

  • 02-06 Reverse Composite Photoshoot | Second Look

    Photographer Jonny Edward and CGI Master Trainer Dustin Valkemamove on to the second look. Moving between a very measured, systematic approach to a free-flowing style the two artists explore the various ways to capture images for CGI composites.

  • 02-07 Your First Reverse Compositing Commercial Assignment 1

    Using information gained during the photoshoots, Dustin gives the assignment to shoot a very specific image of your own that you can use to bring into the CGI studio included in this tutorial. Download the files to get the exact RAW images you need.

  • 03-08 Culling Dawn’s Shoot For The Room

    Culling images is an art form all of its own. In order to get the best edits in post-processing, you need to select the best images to start with. Culling is never an easy task for one photographer - what happens when you have two? Jonny and Dustin discuss what they like about the images and try...

  • 03-09 Preparing Our Subject’s Photos In Adobe Lightroom

    Using Adobe Lightroom Dustin prepares to bring the image into Photoshop. In Lightroom, Dustin makes adjustments to the dynamic range to help lighten shadows and reduce the highlights. Dustin also uses Lightroom to examine the colors in the image that will eventually be used to isolate the image f...

  • 03-10 Preparing Our Images - Subject Masking & Export

    Dustin imports the image of the model into Photoshop where he concentrates on creating a rough cutout of the subject to be used as an overlay in Cinema 4D. This process concentrates on speed over perfection since this cutout will not be used as the primary cutout for the final image. The lasso to...

  • 03-11 Preparing Our Scene File In Cinema 4D

    In this section, Dustin demonstrates how to import a cutout of the model’s image treating the image as if it were a new material in the program. Creating this overlay of the model allows Dustin to have a stand-in in Cinema 4D so that he can prepare the digital scene to match the photo for composi...

  • 03-12 Camera Composition Tools In Cinema 4D

    Dustin begins framing his camera within Cinema 4D. Using the measurements taken during the shoot the digital camera within C4D is given the exact same positioning. Once set right, a protect tag is applied to the digital camera to prevent its accidental movement. After the camera is set, Dustin st...

  • 03-13 Primary Set Lighting - Key Light & Direct Lighting

    Using photoshop, Dustin begins dissecting the lighting on the model to show how the scene will need to be lit in Cinema 4D. Dustin breaks down the considerations in building your lighting scenario for the composite environment.

  • 03-14 Reverse Cropping With Dusty V

    Here Dustin pulls an audible, changing directions to in the crop. Dustin’s experience shows here in understanding that the images weren’t meshing well and looking for answers as to why. This section is called reverse cropping because Dustin shows how in typical images cropping is more permanent b...

  • 03-15 Fine Tuning Lighting

    Using various render passes, Dustin begins tweaking the lighting in the scene. This not only includes adjusting light and shadows but also moving the levels in values. With files, this heavy, Dustin shows how using the render region is a good idea to be able to check on details within the image w...

  • 03-16 Tactical Pause: Material, Lighting, Render Settings Check & Take Creation

    Dustin double checks Materials, Lighting and render settings prior to moving to the next image to ensure all are working properly for this shot.

  • 04-17 Viewing Our Render Layers & File Organization

    In Photoshop, Dustin gets to work developing a custom script that converts all his layers into smart objects. Once that is complete, Dustin organizes all his layers in preparing for the retouching and compositing work to come.

  • 04-18 Creating Alpha Library In Channels

    In this section, Dustin uses channels to plan ahead for his retouching process. Taking a little time to organize this alpha channel library here will be a huge time saver in his future retouching needs.

  • 04-19 Retouching The Subject

    Dustin sets the tone for the remainder of the elements of the image by retouching the subject. Basic skin retouching and adjusting the cutout of the subject are the key elements of this section.

  • 04-20 Building The Base Composite (Macro Adjustments)

    Demonstrating the power of using smart objects, Dustin brings the render layers into camera raw to start making adjustments to the background in order to match the cut out of the subject.

  • 04-21 Matching The Subjects To The Background

    With basic adjustments made to the backplate, Dustin focuses on cleaning up the cut out of the subject and matching the subject to the backplate.

  • 04-22 Local Adjustments

    Continuing the process of blending the composition together, Dustin concentrates on the color temperature difference between the model and background. Using a local adjustment tool using the color picker tool and a little-known, hidden menu within the curves adjustment layer. Using this menu to a...

  • 04-23 Slap Grade & Effects For Color Grading Your Render

    A slap grade is what Dustin calls preparing the focus of the image to accept the final grade of the image. Using volume masks to create and adjust the atmospheric conditions within the room and gives Dustin options to apply color grades to the dust and light rays within the space.

    Dustin also f...

  • 04-24 Tactical Pause In Post

    Dustin takes his final tactical pause in order to evaluate his image one last time before bringing the image back into Lightroom to apply his final color grade to the image.

    Reevaluating the shadows and highlights using the threshold mask one more time, Dustin makes some adjustments to the over...

  • 04-25 Grading And Adjustments To Shot 1 In Adobe Lightroom

    Thinking ahead to create comprehensive and cohesive images is something you will see Dustin does constantly. Dustin shows this again as he makes the decision to use Lightroom for his final color grading so a preset can be created to be applied to all the images from this series.

  • 5-26 Reverse Composite Ending & Final Assignment

    Dustin sits back down with Jonny to explore and talk about the final image. Both artists share their viewpoints and bring up things they would like to improve within the image before Dustin issues the viewer a final assignment.

  • Reverse Portrait Composite Download 1

    163 MB

  • Reverse Portrait Composite Download 3

    1.28 GB

  • Reverse Portrait Composite Download 2

    1.31 GB